Vitrin [for 8 speakers] / 5'04'' - 2018

> fixed media

     @ Kaleidophone / Arter - 8-channel version - June 22 2018

> live performance

     @ Sonar İstanbul 2019 / Zorlu PSM - stereo version - Mar 09 2019

     NOS Visuals (Candaş Şişman + Deniz Kader) (visuals)

     

     @ Digi.logue / Zorlu PSM - stereo version - Nov 08 2018

     NOS Visuals (Candaş Şişman + Deniz Kader) (visuals)

An - Kayıp [for processed double bass] / 9'37'' - 2018

> fixed media

     @ released on "MIAM Electroacoustic" CD

     

     @ Electronic Music from Turkey April 1 2019

     / University of Canterbury School of Music New Music Central (New Zealand)

 

     @ MIAM Electroacoustic Prizewinner's Concert - May 08 2018

     / Maçka Elektrikli Müzik Günleri III / İstanbul Teknik Üniversitesi BISED

> live performance

     @ MIAM Presents / Music = Electric - Mar 15 2018

     / bomontiada ALT

     & Özgür Yılmaz (double bass) + Gökalp Kanatsız (electronics [real-time sound

     processing])

 

@ Digi.logue / Zorlu PSM - short version - Nov 08 2018

     & NOS Visuals (Candaş Şişman + Deniz Kader) (visuals)

Bul - Yay [for 4 speakers] / 10'28'' - 2018

> fixed media

     @ BİLGİ Yeni Müzik Festivali-9 - quadraphonic setup - Mar 02 2018

     / PİArtworks

Haydarpaşa Kolajı / 6'10'' - 2018

> fixed media

     @ Istanbul Soundscape Project: Haydarpaşa'da Bir Gar-2 - Feb 24 2019

     / Arkaoda

     @ Istanbul Soundscape Project: Haydarpaşa'da Bir Gar - May 20 2018

     / Arkaoda

Uzak - Bütün / 5'51'' - 2017

> fixed media

     @ bomontiada ALT - Dec 19 2017

     & performed by Amy Salsgiver (multi percussion) within fixed media

     + with NOS Visuals (Candaş Şişman + Deniz Kader)

Parallax Rework / 5'04'' - 2017

> fixed media

     @ İstanbul Teknik Üniversitesi MIAM - May 25 2017

Medicus Part II / 7'22'' - 2017

> fixed media

     @ İstanbul Teknik Üniversitesi MIAM - May 02 2017

Medicus / 5'22'' - 2016

> fixed media

     @ Maçka Elektrikli Müzik Günleri II-  Apr 26 2017

     / İstanbul Teknik Üniversitesi TMDK

     

     @ Elektronik Müzik Festivali - Mar 16 2017

     / Yıldız Teknik Üniversitesi

 

     @ İstanbul Teknik Üniversitesi MIAM - Nov 02 2016

> live performance

     @ BİLGİ Yeni Müzik Festivali-8 - Mar 30 2017

     / Karga

 

     @ A.I.D - Dec 22 2016

     / Peyote

Sorgu / 20'55'' - 2015

> fixed media

     @ BİLGİ Yeni Müzik Festivali-7- Mar 09 2016

     / Coop

     

     @ Salerno"daki "5° Festival di Musica Elettroacustica e Contemporanea - Oct 20 2015

     / Conservatorio di Musica G. Martucci (Italy)

> live performance

     @ Fill the Void - Jun 11 2016

     / BUG

 

     @ A.I.D - Jan 30 2016

     / Çadır

The composition consists of three main sections and the total duration is 21 minutes. The main subject that generates form, content and structure of the composition is a human being’s awareness of themselves and the negative process that comes afterward. That is why the composition is built on the reflection of a self questioning phase. As a sound resource I used the electronic sounds that I synthesized and the acoustic sounds that I recorded which were processed in electronic environment (except piano and bass clarinet samples).

The texts that is used in the last chapter is Oruc Aruoba's two poems that were taken from his book “Yürüme”

 

 

Mirasçılarımızdır hep ̶ kimlerin, ve, nelerin, ̶

Olduklarımızın, olamadıklarımızın,

olmak isteyip de olabildiklerimizin,

ve olamadıklarımızın,

olmak istemeyip de olmadıklarımızın,

ve olmak zorunda kaldıklarımızın,

ve olmamak zorunda kaldıklarımızın

̶ ama, hep, olduklarımızın...

30 Ağustos

 

 

Gerçekleşmelerimiz, olanaklarımızdan bağımsızdır

̶ hatta, onlara karşıt...

 

Olabileceklerimizi olmamız,

olanaklı değil...

 

Olabileceklerimizi olamıyoruz.

 

Olanaklarımız,

olamadıklarımızdır...

14 Temmuz

M.C.D. Workshop / 2017-2018

> fixed media

     @ MIAM Surroundscapes II - Mar 22 2018

     / bomontiada ALT

     & Safa Kocaoğlu + Joe Conchie

live performance

@ A.I.D- Feb 04 2018

     / Arkaoda

     & Safa Kocaoğlu + Joe Conchie

(W_05: G + S + J)

M.C.D. Workshop is a a jam session based music project which is heavly influced by the BBC’s Radiophonic Workshop series. It contains free-form experimental sound improvisitons & works from Gökalp Kanatsız and Safa Kocaoğlu. The project is open for new members and guests who want to join and create sound in a regular monthly period.

G = Gökalp Kanatsız

S = Safa Kocaoğlu

A = Anıl Bozkırlı

J = Joe Conchie

(W_04 order: S / G [5:00 - 10:23] / A)

(W_03 order: G [0:00 - 3:57] / S / A)

(W_02 order: S / A / G [9:50 - 14:56])

(W_01 order: S / A / G [10:37 - 15:31])

Sinuses, Sinuses Everywhere [excerpt] / 7'24'' - 2012

A composition that is performed by an instrument that I wrote in SuperCollider. It is an excerpt of a live performance and it released by Waxen Wings in a noise compilation album “50 Shades of Decay”.

 

The instrument is able to generate multiple sine waves by one click. The number of the waves, the pitches and the envelopes can be determined by the UI. And also, the same sine waves can be generated again by the “same one” button and the pitches of the waves can be controlled by the XY unite. By this way, it is possible to create complex “beatings” by duplicating the waves and modulating their pitches.

 

If the audience move their head slowly when they are listening a piece that is performed by that instrument, the audible pitches are changing depending on the placement of the monitors, seat and shape of the room. The most entertaining part of using or listening the instrument is that for me.

Album

Track

Label

Release Date

50 Shades of Decay

Sinuses, Sinuses Everywhere

Waxen Wings

March 26, 2013

 

|

|

2'59" / 2013

In this project, I composed a piece for Liu Qiang’s artwork; 29h59’59. This is a unique (sculpture- wise) work about criticism on animal abuse and cruelty. From my point of view, Qiang, chose the most artful way to question our dependency on animal abuse-sourced products; such as, milking some other (non-human) animal species and made a sharp description of animal abuse through this work.

It was hard to find information about both the artist and the sculpture. The first impression I had about this artwork have been “abuse”. And it had two angles; one is from the abuser, and the other is about “abuse” and consequences for both sides. In this point of view, I preferred to compose for five instruments (Clarinet in Bb x2, Bass Clarinet in Bb x2, Piano (for four hands)) and six people, two for each angle, and planned a minimal interaction between them. I picked to pitch set according to some certain rules. The structure doesn’t contain any kind of mathematical calculation or any kind of intervention to the soundscape. Assigned a digit for every single pitch in the set;

 

C# = 1

D = 2

D# = 3

E = 4

F = 5

F# = 6

G = 7

G# = 8

A = 9

A# = 10

B = 11

C = 12

 

**C# =1, because the lowest pitch on the bass clarinet is C#

I picked 4 notes from the set for each 4 lines. Then, arranged 4 more notes; containing only 1 note from previous set and certainly different notes from previous two sets. Form of the piece contains 3 parts, 1 minute for each. Part A is arranged through the system that I explained and used digits instead of note symbols.

 

Part A:

 

6 8 11 3

2 7 9 3

4 7 12 1

4 5 10 8

11 2 10 6

9 7 3 6

9 1 4 12

8 1 5 2

3 6 5 10

7 11 4 10

7 2 8 9

5 2 6 12

1 3 6 4

10 8 11 4

10 12 2 7

6 12 9 5

3 4 1 5

3 8 1 2

12 10 11 9

4 5 7 9

8 5 3 1

 

 

I used digits only for restraining pitch alternatives and arranged them by my hearing taste. I formed the motive, using diminution method to create a “delay” impact in the horizontal layers and integrated vertical movement.

 

In part B; I focused on the dynamic changes, using the same set from part A. And created a different integration between pitches. And it functioned as a preparation to part C. I picked some notes from the first instrument (1st clarinet in Bb) and dropped on the second instrument (piano) for emphasizing “abusive” relation. At the end of part B, all the notes from the 1st clarinet line, would be played by piano. And I used dynamic differences and accents to emphasis on the difference on “abuser” angle. In part C, I preferred the piano as a main instrument and transferred part A motif to it. But this time, I transposed the repetitive notes m2 interval down and interpreted and reflected the abuse and the change.

 

In the score, to make it easier to read and understand the whole structure, I wrote short notes instead of staccato and even it looks uglier, I used many rests and groups.

2 6 3 10

9 4 7 10

9 11 12 8

5 1 12 6

4 1 2 3

7 8 2 9

7 5 6 10

12 5 11 1

3 2 11 4

3 7 9 6

10 12 8 6

1 2 8 5

1 4 7 11

9 4 3 12

6 5 10 12

2 8 10 7

2 9 1 3

11 9 5 6

8 10 12 6

8 7 1 2

4 3 1 9

12 4 11 10

5 3 11 12

10 2 7 12

10 2 7 12

10 1 6 4

9 1 5 3

7 11 5 12

4 6 2 12

4 8 1 10

3 7 1 9

12 5 11 9

12 6 8 4

1 6 7 2

9 10 3 2

5 10 8 4

11 1 8 6

11 3 9 12

7 2 9 5

7 4 8 6

12 4 11 10

Live (with Safa Kocaoğlu) / 48'05'' - 2013

This is a one hour excerpt from an improvisation that was performed by myself and Safa Kocaoğlu. We used only two computers and -unprepared, real time synthesized- sounds.

Ben Saksı Değilim! (Enstrümanım) / 4'36'' - 2013

I wanted to write a composition for an instrument that is prepared by an uncommon way. Since my main instruments are computer and midi controllers, I wanted to use them in the project.


Firstly, I “prepared” the idea. There are so many people think that acoustic instruments are real instruments and electronic ones are not and the music that is made by the acoustic instruments are “real music”, the musicians are “real”, and the rest of them are not. One of the “fake” one is me and it is tiring to hear that opinions at that century.

I wanted to prepare the electronic instruments by using them as an acoustic instruments and recorded their sounds. I thought “to become a real instrument, they should sound like their the ancestors, without electric and computer”. The instruments that I used are Miditech 25 Keyboard, Akai APC20, Korg NanoKontrol, M-Audio Axiom Mini Air 32 and Yamaha Dtx Explorer. I recorded them at Bilgi Music Studio with AKG C3000. Than, I mapped their own sounds to their buttons, knobs and faders by using DAW and started to write a composition with the sounds I got. But than I realized, if I use them on stage, live, it will be more meaningful. So, I performed at Bilgi University and recorded it. The piece on the Soundcloud is recorded that day.

 

The compositions is formed by three sections. First part is written like a “presentation” and I only used recorded sounds without effects. In the other parts I used audio processing and digital effects to “prepare” them in the digital domain by their principal capabilities.